It Happened In Sun Valley by Glenn Miller. Edited by Alan Glasscock. Arranged by Bill Finegan. For big band with vocal group [or solo vocal]. Swing. Medium. Published by Lush Life (JL.LL-2278).
It Happened in Sun Valley' was written for the 1941 film 'Sun Valley Serenade,' featuring Sonja Henie, John Payne and the Glenn Miller Orchestra with the Modernaires. The Miller chart has been recreated and has been scored for a full big band and five-piece vocal backing group, though it is singable with only a boy/girl duo. The band vocal chorus is written into all of the brass and sax parts. All saxes are called upon to double clarinet (baritone on bass clarinet and alto). However, the bari sax part is printed double sided - with and without the bass clarinet double. Tex Beneke's solo is written out in full on the tenor 1 part, and is also cued on tenor 2. The vocal starts in G, and modulates to C, Ab and G, as per the original. A great chart for Christmas, or for a Miller tribute. Swing @ 210 bpm Ranges: Trumpets 1-4: C6, C6, E5, D5 Trombones 1-4: A4, F#4, D#4, C#4 Vocal key G to C to Ab to G .

Ace In The Hole by Ella Fitzgerald. Edited by Myles Collins. Arranged by Buddy Bregman. For big band with vocal. Swing. Difficult. Published by Lush Life (JL.LL-2281).
This song was written by Cole Porter for his 1941 musical "Let's Face It" and featured in Ella's Cole Porter Songbook album. It is an up-tempo swinger with a predominantly minor feel, and we have stayed true to the original Bregman concept by retaining the delicate Flute lines over muted Brass. The vocal line is scored "as sung" by Ella. Both Altos are written to double Flute, though we have included an additional Alto 2 part which is scored to double Clarinet instead. At two minutes this is not a long chart, though the length is perfect for the arrangement concept. A good chart for either a concert or working gig.Ranges:Trumpets 1-4: C#6, B5, G5, E5Trombones 1-4: B4, G4, E4, C4Vocal key: GVocal Range: F3 - D5 (13 steps as sung).

Anything Goes by In The Style Of Ella Fitzgerald. Arranged by Myles Collins. For big band with vocal. Swing. Easy. Published by Lush Life (JL.LL-2285).
This arrangement of Anything Goes is scored as a female vocal, very much in the style of Ella Fitzgerald. The intro features the rarely heard verse before moving into swing tempo at a medium 120 beats per minute, with muted brass backing the first vocal chorus. The second chorus is led by the saxes, followed by a full ensemble leading to the vocal return for the middle eight to the end of the chorus, with a brief ensemble shout to finish. The saxes are scored to double Flute, clarinets and bass clarinet for the intro, though all parts have cues for saxes which allows the chart to be played by a regular AATTB section with no doubles. Brass ranges are very moderate, with lead trumpet to a written A and lead trombone to G. The vocal key is Gm / G major. Style: Swing @ 110/120 b.p.m.Ranges:Trumpets 1-4: A5, F#5, D5, B4Trombones 1-4: G4, F4, E4, E4Vocal key: Gm/GVocal Range: G3 - B4 (10 steps).

It's All Right With Me by Ella Fitzgerald. Edited by Myles Collins. Arranged by Buddy Bregman. For big band with vocal. Swing. Difficult. Published by Lush Life (JL.LL-2288).
Written by Cole Porter for his 1953 musical "Can-Can", this Ella Fitzgerald chart is an up-tempo, hard swinging version (originally scored by Buddy Bregman for her Cole Porter Songbook album) with a cool groove feel. The chart backs the vocalist brilliantly, with the supporting lines being strong & rhythmic without ever getting in the way of the singer. The cameo muted trumpet solos are taken by the second chair and can be played as written or faked from the chords provided. There are no sax doubles.Ranges:Trumpets . 1-4: C#6, Bb5, G5, E5Trombones . 1-4: . Bb4, G4, F4, E4Vocal key: BbVocal Range: G3 - C5 (11 steps as sung).

Too Darn Hot by Ella Fitzgerald. Edited by Myles Collins. Arranged by Buddy Bregman. For big band with vocal. Swing. Difficult. Published by Lush Life (JL.LL-2293).
Too Darn Hot was written by Cole Porter for the 1948 musical "Kiss Me Kate" and was featured by Ella Fitzgerald on her Cole Porter Songbook album, with the original arrangement by Buddy Bregman. This publication stays true to the original, allowing you to give an authentic Ella performance. The vocal part is notated "as sung by Ella", the band backings are tight and punchy, the articulations and dynamics accurately marked and we have even included the little drum fills and licks that make such a difference in performance. The muted trumpet solos are scored on the 2nd part and there are no sax doubles.Ranges:Trumpets 1-4: D6, D6, A5, F#5Trombones 1-4: Bb4, G4, G4, D4Vocal key: Cm/CVocal Range: G3 - C5 (11 steps as sung).

What Is This Thing Called Love by Ella Fitzgerald. Arranged by Myles Collins. For big band with vocal. Swing. Medium Easy. Published by Lush Life (JL.LL-2294).
We think that the trombone section in most big bands rarely gets a chance to shine and show off their collective talents, so we have taken Ella Fitzgerald's version of this fine Cole Porter tune and scored the chart for just vocal, trombones and a rhythm section. The chart is in Ella's key of G and the vocal part is written "as sung" by Ella. We also recognize that many bands only use 3 trombones, and as this chart needs 4 brass voices in order to work properly we have included an extra trumpet part in the pack (a double of the trombone 1 part), making the chart playable by just about all bands. As well as featuring the vocalist there is a fine 8 measure Trombone soli, and an 8 measure trombone solo (written on the 2nd part). Style: Swing @ 145 b.p.m.Ranges:Trumpets 1-4: TacetTrombones 1-4: A4, G4, G4, C4Vocal key: GVocal Range: A#3 - C5 (9 steps as sung).

You Do Something To Me by Ella Fitzgerald. Edited by Myles Collins. Arranged by Buddy Bregman. For big band with vocal. Swing. Easy. Published by Lush Life (JL.LL-2295).
Adapted from Ella Fitzgerald's Cole Porter Songbook recording, this chart is laid back, relaxed and easy to play. It would make a good "change-of-pace chart" for a concert setting or live gig. The arrangement is scored for Miller voiced reeds (CAATT) and the brass is muted throughout. Brass ranges are very moderate, with lead Trumpet only to an A and lead Trombone to G. The vocal is in Ella's original key of Bb throughout. Please note that the audio is Ella's original, and NOT this chart, although the feel and duration of it is the same.Ranges:Trumpets 1-4: A5, G5, E5, C5Trombones 1-4: G4, Eb4, Eb4, Eb4Vocal Key: BbVocal Range: F3 - C5 (12 steps as sung).

Let Yourself Go by Ella Fitzgerald. Edited by Myles Collins. Arranged by Paul Weston. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2297).
Let Yourself Go is a transcription of the original Paul Weston chart, as recorded on Ella's " Irving Berlin Songbook " album. The pace is a relaxed swing at 160 beats per minute, and Weston's original is a really cool swinger. The vocal part is written "as sung" by her. The band backings are relaxed, yet punchy, and support the vocalist perfectly. We have written the muted Trumpet solo for the second part and have cued it on all other Trumpet parts, giving you the option of having another player take it. The vocal key is Eb throughout and there are no sax doubles. Style: . Swing @160 b.p.m.Ranges: Trumpets . 1-4 . D6, A5, G5, E5 Trombones . 1-4 . Ab4, Gb4, Eb4, C4 Vocal key Eb . . Female vocal G2 - B4 (9 steps as sung).

Top Hat, White Tie, and Tails by Ella Fitzgerald. Edited by Myles Collins. Arranged by Paul Weston. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2299).
"top hat" is a transcription of the original paul weston chart, as recorded on ella's " irving berlin songbook " album, and it is a really cool, swingin' chart. we have scored the vocal "as sung" by ella, and whilst there are no solos in the band, the chart features your pianist playing rhythmic fill lines high on the keyboard. unusually, the opening verse of berlin's tune is featured in the middle of the chart in the sort of place that one might expect to hear a tutti band chorus, and this concept works very well. there are no sax doubles and the vocal key is ab , modilating to eb for the central verse, reverting to ab for the final chorus. style: . swing @150 b.p.m.ranges:trumpets . 1-4 . d6, bb5, bb5, bb5 trombones . 1-4 . bb4, g4, gb4, gb4 vocal key ab,eb,ab . . female vocal g3 - c5 (10 steps as sung).

Cheek To Cheek by Ella Fitzgerald. Edited by Myles Collins. Arranged by Paul Weston. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2300).
Cheek to Cheek is a transcription of the original Paul Westo n chart, as recorded on Ella's " Irving Berlin Songbook " album. The pace is easy, and Ella's vocal interpretation is sublime. The vocal part is written "as sung" by her. The band backings are relaxed, yet punchy, and support the vocalist perfectly. We have written the delightful muted Trumpet solo for the second part and recommend that your player plays it "as written", rather than faking a jazz solo, as the original is totally in keeping with the feel of the chart. There are no sax doubles and the vocal key is F throughout. Style: . Swing @145 b.p.m.Ranges:Trumpets . 1-4 . D6, C6, C6, C6 Trombones . 1-4 . C5, A4, Ab4, D4 Vocal key F . . Female vocal E3 - C5 (12 steps as sung).

As Time Goes By by Tony Bennett. Arranged by Jon Harpin. For big band with vocal. Swing. Medium Easy. Published by Lush Life (JL.LL-2301).
Here is Tony Bennett's great version of As Time Goes By. The chart opens with the rarely heard verse, colla voce, backed by the piano, (though you can start the chart at the chorus if you prefer) and moves smoothly into the swing choruses, with some great band backings that never intrude in the singers' space. There's not much more to say really, other than the tune is always popular, instantly recognizable, and makes a really good late night slow dance chart. the brass ranges are moderate, apart from a high D6 in the Trumpet 1 / 2 parts (Trumpet 2 can drop this down an octave if need be). The vocal key is C throughout, and there are no sax doubles. Duration: 3 minutes 10 secs; Swing @ 84 b.p.m. Ranges: Trumpets 1-4: D6, D6, F#5, Trombones 1-4: A4, G4, Eb4, Eb4 Vocal key: C Vocal A2 - Fb4 (13 steps, as sung) . . .

Too Close For Comfort by Frank Sinatra. Edited by Myles Collins. Arranged by Billy May. For big band. Swing. Difficult. Published by Lush Life (JL.LL-2303).
Transcribed from the original Billy May arrangement which features on Sinatra's "Come Dance With Me" album, Too Close for Comfort is a ripper of a chart that kicks and swings hard from start to finish. We have written the vocal part "as sung" by Mr Sinatra, and have even included the little drum licks and fills that will help your band to mirror the original recording. There are no sax doubles and the 4th Trombone is Bass, though perfectly playable by Tenor. The vocal key is B, modulating to C.Ranges:Trumpets . 1-4: D6, B5, A5, F#5Trombones . 1-4: . C5, A4, F4, C#4Vocal key: B-CVocal Range: A2 - Eb4 (12 steps as sung).

East Side, West Side [The Sidewalks Of New York] by Charlie Barnet. Edited by Myles Collins. Arranged by Andy Gibson. For big band. Swing. Difficult. Published by Lush Life (JL.LL-2305).
This is a transcription of Charlie Barnet's original version (recorded in Hollywood in 1947), which also featured Bunny Briggs doing a scat vocal solo over the band in the first chorus. A vocal part for this scat has NOT included preferring instead to have the chart as a band vocal feature. Barnet's tenor solo is written out in full (on the tenor 1 part), along with the little soprano sax lick at the end, though this can be played on tenor instead. The trumpet solo is written out on the trumpet 2 part. Brass ranges are high - lead trumpet to F6, lead trombone to C5. As a result, the chart is graded difficult. There are no sax doubles. Swing @ 165 b.p.m. Ranges: Trumpets 1-4: F6, Bb5, C#6, A5 Trombones 1-4: C5, Ab4, G4, G4 Vocal key: Ab Vocal - unison band - Eb to Eb 1 octave.

My Prayer by Glenn Miller. Arranged by Alan Glasscock. For big band. Swing. Medium. Published by Lush Life (JL.LL-2306).
My Prayer is a typically sweet Glenn Miller vocal from his early years, transcribed by Alan Glasscock. This was recorded in August 1939. Saxes are scored CAATT, with tenor 1 doubling clarinet in the intro. The chart has been adapted to a big band lineup of 8 brass, from the original 6, and Miller's cameo solo (at the end of the first chorus) has been written on the trombone 1 part. The vocal key is F, and it suits a tenor voice. However, an optional solo trombone part has been included that allows you to perform this chart as a trombone feature rather than a vocal. Aside from the 1st trombone hitting C5 the brass ranges are moderate. All of the dynamics and articulations are included, to help you recreate an authentic Miller performance. Swing @ 110 b.p.m.. . Ranges: Trumpets 1-4: B5, G5, Eb5, D5 Trombones 1-4: C5, F4, Eb4, C4 Vocal key: F Vocal C3 - F4 (11 steps, as sung).

My Melancholy Baby by Glenn Miller. Edited by Alan Glasscock. Arranged by Bill Finegan. For big band. Swing. Medium. Published by Lush Life (JL.LL-2309).
My Melancholy Baby is a rare chart from the Glenn Miller Orchestra, originally arranged by Bill Finegan and transcribed here by Alan Glasscock. It is "as played" by the Miller Band, except that we have augmented the brass to 8 voices from the original 6. Tex Beneke took the vocal, and to give the chart a bit more flexibility for your band we have cued the vocal line onto the Tenor 1 part, making the chart playable as an instrumental too. Tenor 1 also has the earlier sax solo which comes before the modulation. Alto 1 doubles Clarinet, and Baritone doubles Alto. The vocal chorus is in Db.Ranges:Trumpets . 1-4: . B5, B5, G5, Eb5Trombones . 1-4: . C5, Ab4, F4, D4Vocal key: DbVocal Range: C3 - Eb4 (10 steps as sung).

Elmer's Tune by Glenn Miller. Edited by Alan Glasscock. Arranged by Jerry Gray. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2310).
This chart is an absolute vocal classic from Ray Eberle and the Modernaires with the Glenn Miller Orchestra. Alan Glasscock's fine transcription of Jerry Gray's chart is true to the original in every respect, right down the the vocal voicings, the band articulations, dynamics and phrasing marks. Although written for full big band, male vocal and 4-piece backing vocals, this arrangement will work without the vocal group, but will lose much of its flavour as a result. The reeds are scored AABBT, with both Altos doubling Clarinet. The vocal key is C.Ranges:Trumpets 1-4: C6, A5, F5, E5Trombones 1-4: Bb4, Gb4, E4, E4Vocal key: CMale Vocal Range: D#3 - F4 (9 steps as sung).

Sweeter Than The Sweetest by Glenn Miller. Edited by Alan Glasscock. Arranged by Billy May. For big band with vocal soloist and vocal group [SATB]. Swing. Medium Difficult. Published by Lush Life (JL.LL-2311).
This is a faithful transcription of the 1941 Billy May arrangement as recorded by the Glenn Miller Orchestra, with Paula Kelly and the Modernaires. The chart is scored for 5444, Girl vocalist and 4 piece backing group. The vocal lines have been score as-sung, and the cameo tenor solo has been written out as originally played by Al Klink. The chart opens in the key of C (for the first vocal chorus), modulates to Db for the instrumental middle, and reverts to C for the final chorus. Baritone doubles Alto. Duration: . 3 mins 25 secs; Style: . Swing @125 b.p.m.Ranges:Trumpets . 1-4: . Eb6, Eb5, Bb5, G5Trombones . 1-4: . C5, C5, C5, E4Vocal key: CFemale Vocal Range: vocal B3-C5 (9steps) + Vocal group.

Pass That Peace Pipe by Kay Kyser. Arranged by Bill Fontaine and Judd Conlon. For big band with solo vocal or quintet. Swing. Medium Easy. Published by Lush Life (JL.LL-2313).
Many big bands of the 30s & 40s performed novelty numbers, and most of them were very forgettable. However, some endured, simply because they were so well written and arranged. Kay Kyser's version of Pass That Peace Pipe is one of these. The arrangement was by Bill Fontaine and Judd Conlon , and it is a beautiful piece of work. Whilst the chart was written for Female Vocal plus 4 piece backing ( Gloria Wood & the Campus Kids ) it will work with just a solo vocalist. Alto & Tenor saxes are called to double clarinets in the intro, but the parts are printed double-sided, with a " no double " option, in case your players don't have clarinets. This is a very rare chart from the heyday of the Kyser band and a fine addition to any library. Ranges:Trumpets 1-4: D6, B5, B6, B5 Trombones 1-4: Bb4, A4, A4, D4 Vocal Keys: Em to Fm.

Cheek To Cheek by Frank Sinatra. Edited by Jon Harpin. Arranged by Billy May. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2314).
There is not too much to say about this chart, because the combination of Frank Sinatra and Billy May speaks for itself. Lovingly transcribed by Jon Harpin, this chart swings like crazy from start to finish. The vocal part is written "as sung" by Sinatra and the vocal key is Bb throughout. There are no sax doubles. Style: . Swing @ 170 b.p.m.Ranges:Trumpets . 1-4: . D6, B5, Bb5, Bb5Trombones . 1-4: . Bb4, G4, F4, D4Vocal key: BbVocal Range: A2 - D4 (11 steps as sung).

Accentuate The Positive by Ella Fitzgerald. Arranged by Billy May. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2317).
Transcribed from her Harold Arlen songbook album, this stunning Ella Fitzgerald chart was originally arranged by the late, great Billy May and is an absolute classic. We have simplified the sax lines behind the opening verse to remove the instrument doubles, whilst retaining the flavour of the original concept. and made a small Trumpet voicing change in the second measure of the chart. Aside from this, the arrangement is as per the original. Ella's vocal line is written out "as sung", though your vocalist is free to interpret it in her own style. Aside from the written two measure Piano fill in the verse there are no solos, as it is an out-and-out vocal feature. Lead Alto is required to double Clarinet for the 16 measure instrumental section in the middle of the chart, but a Soprano can also be used here instead. The vocal key is C thoughou.

It's Only A Paper Moon by Ella Fitzgerald. Arranged by Billy May. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2318).
Transcribed from her Harold Arlen songbook album, this fabulous Ella chart was originally arranged by the late, great Billy May and it swings like crazy from start to finish. His use of the unison sax motif makes this chart instantly recognisable, and audiences will love it from the very first note. We have written out the vocal part "as sung" by Ella, though the short Tenor solo is to be improvised from the chords provided. There are no sax doubles, and the vocal key is Bb throughout.

Walkin' My Baby Back Home by Natalie Cole. Edited by Myles Collins. Arranged by Bill Holman. For big band with vocal duet. Swing. Difficult. Published by Lush Life (JL.LL-2322).
Transcribed from Natalie Cole's "Still Unforgettable" album, this chart is a really clever fusion of old and new, as it combines elements of Nat King Cole's original recording along with his daughters' fresher interpretation. The chart is scored for reeds to double Flutes and Clarinets in the intro (F, F, C, C, BC) though we have cued alternate sax lines here, eliminating the need for the doubles. The vocal is scored for a boy / girl duet, as per the record version. We have rated it Medium / Advanced only because the Trumpet lines are high in their range, with lead to top E and 2nd & 3rd to top C#. Aside from this it is a fairly easy chart to play down. The vocal keys are A, modulating to Db and D. Ranges:Trumpets 1-4: E6, C#6, C#6, B5Trombones 1-4: Bb4, F#4, E4, D4Vocal Key: A to Db to DVocal Range: Ab3 - C5, Nat C3 - E4.

Pennsylvania Polka by The Andrews Sisters. Arranged by Alan Glasscock. For big band with vocal trio. Swing. Medium. Published by Lush Life (JL.LL-2323).
This tune was first recorded by the Andrews Sisters for their 1942 film "Give Out, Sisters". Though initially not a great success, the song steadily gained popularity and grew to become one of their best known numbers. This transcription is true to the original studio chart, though the band parts have been augmented to bring it to a full 5444 big band line-up. The vocal lines are "as sung" by Maxine, Patty and LaVerne. The reeds are scored for two clarinets, two tenors and baritone throughout. Whilst the band parts are not particularly tricky in themselves, they need to be played with good discipline and precision, else the chart will sound ragged.Ranges:Trumpets . 1-4: Bb5, Ab5, Eb5, G5Trombones . 1-4: . Ab4, F4, Eb4, Db4Vocal keys: Eb-Ab-Db-Gb-DbVocal: SSA trio.

Blacksmith Blues by Ella Mae Morse. Edited by Alan Glasscock. Arranged by Nelson Riddle. For big band with vocal. Swing. Medium. Published by Lush Life (JL.LL-2325).
Here is Ella Mae Morse's Blacksmith Blues, written for her by Jack Holmes. This song was originally the flipside to Love Me or Leave Me, issued in 1952 by Capitol Records, and it became her biggest hit. The chart was scored by Nelson Riddle whilst he was staff arranger at Capitol, and is probably the only big band chart which includes an anvil in the rhythm section. Whilst the original recording has a fade out at the end, we have written a definite ending, because fadeouts just don't work outside of a studio. The vocal key is Bb and there are no sax doubles. Style: . Swing @ 130 b.p.m.Ranges:Trumpets . 1-4: . D6, E6, C6, C6Trombones . 1-4: . Bb4, Bb4, Bb4, E4Vocal key: BbVocal Range: F3 - Bb4 (11 steps as sung).